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WHY DO WE DANCE?

There is no simple answer to this question. In the past, Man danced to worship and celebrate. In the Western tradition, social dancing occupies a very important place: we dance for the pleasure it gives us. The tradition of classical ballet stems from the court dances of European kings. We dance to entertain others or we dance to share our emotions or the feelings of the role we are performing. On a more physical level, we dance because it is good exercise. We learn to dance to promote good posture, to expend calories, to become more graceful. All of these reasons have one factor in common: through the act of dancing, we feel a sense of belonging. We share and communicate our sense of well-being through movement.

Although not everyone is born to be a professional dancer, the practice of dance benefits everyone. It develops the awakening of the body and an appreciation for all that it can do. It also helps in physical and mental development in children. Dancing also benefits to develop a social sense. Children who take dance classes become more alert in their interpersonal relationships and learn to work in harmony with each other. In a non-competitive environment they learn cooperation and mutual aid. In creative movement (Mouvement créatif) and pre-ballet classes they learn to express ideas through imagination, improving their communication skills.

DANCE TRAINING

Learning the technique establishes a vocabulary that evolves from simplicity to complexity. The basic movements are repeated again and again and eventually these movements are linked into sequences. At first, combinations are limited to two or three basic moves; as the student improves, the sequences become more complex even though they are still composed of basic movements. When a teaching method is too quickly directed towards complex movements and does not give enough importance to the basic movements in the first stages of training, it does not promote understanding and coordination; consequently the student’s execution will not be clear, will lack precision.

The objective of dance training is the acquisition of techniques. A definition of technique would be “a method for accomplishing a particular purpose”. The goal in dance education is primarily to train the body into a malleable and expressive instrument.

Creative movement and pre-ballet are based on the idea of ​​bringing physical activity to the child who is too young for formal technical training. Before the age of seven or eight, children’s bones are too soft, muscle connections are insufficiently established, and their attention span is too short to focus on technical demands.

Some dance methods nowadays allow the participation of very young children when they do not require the technical constraint. The child is free to express feelings and ideas with movement in a positive environment. Also, improvisation techniques promoting group activity, awareness of space and others are a good start for young people.

Creative movement classes (Mouvement créatif) generally focus on form, space, and responds to different sounds or rhythms. Classes stimulate the child’s imagination, increase awareness of their body and how it moves, in space and in relation to others who share this same space and create forms. Children achieve this through musical games, telling stories through movement, and imitating the natural environment: clouds, rain, waves, flowers, trees and animals. They perfect their spatial perception in relation to shapes and different dynamics. Through these and other activities, such as gentle stretching and controlled motor movements, such as frolicking and walking, children learn to give physical expression to their imaginations and develop their coordination.

A pre-ballet class incorporates some of the elements of creative movement. It also introduces some of the basic classical ballet positions and movements without emphasizing the technical side.

It does not matter if the student begins at the age of seven, ten, twenty or forty, the progression of learning the technique is the same. Whether you are a late beginner, fifteen to seventy years old, you will grasp the movements intellectually faster than an eight year old. However, your musculature will take longer to join your reasoning.

HOW TO CHOOSE A TEACHER AND A SCHOOL?

In metropolitan areas, the choice of dance schools is wide, which makes it even more difficult to find good teachers. Choosing a school should not be taken lightly. Opting for proximity to the studio should be considered with the reputation of the school. Even comments received from other parents are worth checking out. A visit to the school and a conversation with the teachers are in order. Observe, if possible, a few classes, not only the one in which your child will be registered, but also other levels to ensure the progress of the students and notice the teacher/student relationship and the atmosphere maintained in class.

One of the benefits of joining a vocational school is the opportunity to take part in sister company productions, such as the annual Nutcracker ballet. Unlike private studio presentations, where students are the primary participants, these productions place children inside a more talent-rich environment. These productions allow them to learn the ways of performing by rubbing shoulders with professionals, who represent the models with whom children can identify.

Mathesius presents the elements that distinguish general dance training from intensive programs.

1. There must be a large pool of candidates from which to recruit… There must be a rigorous audition process that ensures the selection of highly talented and highly motivated young dancers.
2. The staff must consist of artists/teachers who have dance expertise resulting from their professional experience.
3. Technique classes, the heart and soul of dance training, must be held with rigour. Technical mastery is an essential goal and should be taught concisely through a regular, weekly schedule of classical ballet and/or modern dance.
4. The presence of musicians on site is an essential element of any dance class. An institute that trains professional dancers, without exception, must present every class of technical education with a musician.
5. A lesson plan must be followed for any technical dance class that reflects high standards.

The teachers you will meet will probably have a list of professional documents that establish their background and skills as well as the various techniques they master and teach. They will almost certainly have a college diploma in dance or a state teaching certificate, if employed by the Department of Education. As a parent, you should feel comfortable asking questions and requesting proof of certification and discussing with the teacher the type of approach they use to guide themselves. Accompanied by a class observation or two, a  n interview will provide a basis for determining a good style and making an informed choice. The school brochure may provide some information, but asking questions is still necessary.

Children initially learn by imitating their teachers, so it is important for teachers to present a body line without mannerisms. All dancers develop a personal touch, an individual way of presenting movement which, when it does not interfere with the clarity of movement, can enhance and better express emotions. However, when dancers become teachers, they must lose these personal touches in order to convey a clean line to their students. The ideal teacher should possess the following attributes:

1. certification from a recognized institution;
2. some professional experience;
3. patient behavior without coddling the student;
4. be comfortable with the material being taught and be adept at organizing material logically and appropriately for each age group;
5. an ability to inspire a sense of accomplishment and stimulate interest in students;
6. have a critical eye to correct in an encouraging way;
7. an ability to maintain concentration and discipline at all times;
8. above all, a love for dance and a selfless desire to see students progress.

The interaction between a teacher and his student is probably one of the most important things in the training aspect; teachers should not only be knowledgeable but also possess a generous spirit that enables them to share this knowledge.

A good school offers continuity in its training; in other words, it will offer a set schedule, progression and levels taught by the same teachers throughout the year. A student needs to become familiar with his teacher’s style and progression. Only then will he be able to focus on the concepts that will be presented to him and then assess his progress. Each lesson must be devoted to a single discipline: ballet, folklore, modern, jazz, etc. Your child will be placed at the appropriate level and the teacher will suggest additional lessons according to your child’s progress.

AVOID INJURY

When choosing a school, you should notice some signs that the technique is being taught adequately. Do the students stand up straight and does the teacher correct them if they are not? When students are straight, are their shoulders and hips aligned, is the head balanced on the body (with the chin neither tucked in nor pointed up)?

Is the teacher talking about alignment and line or is the height of the extended leg the only thing he looks at with no interest in alignment and lines?

Does the teacher require the same degree of external (outside) rotation of all students or does he individually correct each child according to his or her abilities?

Environmental conditions, including the floor, are important. The floor surface should provide some grip without being sticky. A non-slip surface such as “marley” is very effective. Linoleum is not effective since it is generally very slippery. Wood that has been treated with a finish that prevents slipping is also usable. Resin is sometimes used on wood surfaces but is not necessary on the “marley”. Floors should also be bouncy; a “marley” placed on top of a hard surface like cement is not acceptable. The importance of a resilient floor cannot be underestimated. Many injuries are caused by jumping on a non-bouncing floor. Quality bars are also essential for the equipment of a studio. The height of the bars should not exceed the height of the student. Most studios have two rows of bars that can accommodate young and old students.